Lesley Goldberg wrote:There's a change at the top of Marvel's upcoming Netflix Daredevil series.
Drew Goddard will hand over showrunning duties to Steven S. DeKnight, who is finalizing a deal to board the series, The Hollywood Reporter has learned.
Buffy and Lost alum Goddard will segue to writing and directing Sony's Spider-Man spinoff Sinister Six, which will focus on the villains from that universe. He'll remain with Daredevil and serve as a consultant on the drama.
Marvel could not be reached for comment.
For his part, DeKnight served as showrunner on three seasons of Starz's Spartacus, and wrapped the series in 2013. His credits include working with Goddard on Joss Whedon's Angel and Buffy the Vampire Slayer well as Whedon's Dollhouse and The CW's Smallville. He's repped by CAA.
Netflix picked up Daredevil -- as well as Jessica Jones, Iron Fist and Luke Cage as well as miniseries The Defenders -- in a massive pact with Marvel. Daredevil is first out of the gate with 13 episodes.
For its part, Marvel expanded its relationship with ABC, adding Captain America spinoff Agent Carter as a bridge series between the fall and spring runs of the sophomore season of Agents of SHIELD.
UPDATED: Marvel has now confirmed DeKnight as showrunner.
Ribbons wrote:Here's the full thing:
Peven wrote:sad to see the zone has fallen so far that when a major Marvel property with such a rich history like DD is getting such rave reviews and there is no reaction here except an attempt at lame jokes about people who aren't even involved in the project. no enthusiasm, no discussion, totally lame. Colin is rolling over in his grave somewhere.....if he is dead by now. back when the zone had real leadership and engaged participation by our members this thread would be buzzing with the conversation about what the reviews are saying and the implications for the MCU. pathetic
Ribbons wrote:Peven, I'm encouraged by the positive reviews that have surfaced, and I plan on watching Daredevil sometime this month, hopefully. Other than that, I don't really know what kind of penetrating conversation you're looking for from a TV show that hasn't even come out yet.
Peven wrote:you don't mean to be rude? that would be a first. for one, spandau
Peven wrote:excuse me if I lament the loss of that sort of environment here and voice my opinion that it would be better if we tried to get back to that.
Lord Voldemoo wrote:back on topic, sorta, I am excited to check this out. The reviews are very positive, though I've only read 5 or 6 so far (via Metacritic, I will admit).
I was never a Daredevil guy growing up, so I don't have much invested in the character. Hence no gripping anticipation for me beyond what I hope will live up to the developing hype. I will say, on a broader note, that i generally like the way things are shaping up for Marvel TV. Agents of Shield is continuing to improve (in my opinion), Agent Carter was very good, and things sound very positive for Daredevil.
Ribbons wrote:I'm not sure that we want a repeat of those X-Men/Superman discussions, but you're right that there's been some marketing stuff to analyze.
Peven wrote:one of the things I LOVE about the series is the look, the colors they use are so rich and saturated, red is everywhere, not bright fire engine red but the dark red of real blood, as are deep, sodium yellows pouring in from background window panes in scene after scene, also found in the richly golden locks of Karen Paige, even highlighting that yellow-gold with an Eight O'Clock coffee can in the background of a scene, while the blues are more like deep, dark, ultra rich hues of violet. there are no light brush strokes visually, colors are solid, there is such richness and saturation that even skin tones seem almost hyper-real, as if characters have more substance in close-ups, and it makes the characters "pop" more against the dark and heavily shadowed scenes, of which the vast majority of the series consists.
Ribbons wrote:Peven wrote:one of the things I LOVE about the series is the look, the colors they use are so rich and saturated, red is everywhere, not bright fire engine red but the dark red of real blood, as are deep, sodium yellows pouring in from background window panes in scene after scene, also found in the richly golden locks of Karen Paige, even highlighting that yellow-gold with an Eight O'Clock coffee can in the background of a scene, while the blues are more like deep, dark, ultra rich hues of violet. there are no light brush strokes visually, colors are solid, there is such richness and saturation that even skin tones seem almost hyper-real, as if characters have more substance in close-ups, and it makes the characters "pop" more against the dark and heavily shadowed scenes, of which the vast majority of the series consists.
I've noticed this about the color scheme as well (now two episodes in). It reminds me a little of the neon-soaked look of Only God Forgives, if you've seen that (and I'm betting the showrunners have).
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